Friday, June 23, 2017

James Wong Howe in The New Movie Magazine

March 1934
page 52: photograph (below)






















August 1934
page 45: mention


(Next post on Friday: Chen Chi and San Francisco’s Fabulous Chinatown)


Friday, June 16, 2017

The Modern Revolutionary Chinese Artists’ Club

Oakland Tribune
(California)
March 20, 1927
exhibition of paintings at 18 Waverly Place, San Francisco

Oakland Tribune
(California)
March 27, 1927

The Coshocton Tribune
(Ohio)
April 8, 1927
page 4, column 6: Daily News Letter
by William Parker
San Francisco, April 8—The revolution gripping China has extended to art circles in San Francisco’s Chinatown. “The Modern Revolutionary Chinese Artists’ Club” has been organized and is holding an exhibition at 18 Waverly Place.

Every exhibit is of the impressionistic or futuristic school and all from the brushes of young Chinese students in the quarter. None of the students is more than twenty years of age and one is only fifteen.

The exhibition is conducted by Yun, aged twenty, an Americanized native Chinese who wears a basque cap on his head and fuzz on his chin.






















The Niagara Falls Gazette
(New York)
April 11, 1927
page 7, column 3: same article as above

San Francisco Chronicle
(California)
May 15, 1927
page D7, column 5: Yun, the Modern Revolutionary Chinese Artists Club founder, has taken his pupils’ exhibit to the Telegraph Hill Tavern. It is hard to tell what artistic province these young Chinese will break out in next. Bohemia being a land of no boundaries.











At 150 Wetmore


Friday, June 9, 2017

Yun Gee: Poetry, Writings, Art, Memories






















Anthony W. Lee, Editor
University of Washington Press, 2003

Jacket art: Man Writing (1927)

COLOR PLATES
Head of a Man (1926–1927)
Untitled (An Audience, 1927)
My First Impression of Paris (1927)
How I Saw Myself in a Dream (circa 1929)
Wheels: Industrial New York (1932)
Where Is My Mother (1926–1927)
Man Writing (1927)
Mrs. Salinger in Paris (1927)
Portrait of Paul Valery (no date)
The Flute Player (1928)
The Charm of Music (1930)
Madrid Landscape with a White Building (1928)
Self-Portrait in Beret (1927)
The Last Supper panel 1, panel 2 and panel 3 (1933)
The Red Chair (1928)

PHOTOGRAPHS
Yun Gee with a Bird at the Window (circa 1930s)
Yun Gee Painting (circa 1926)
Yun Gee and Models Standing by the Painting Temptation (circa 1931)
Yun Gee Playing Chess (1954; a similar photograph, from a different point of view, was distributed by United Press International; his daughter, Li-Lan, is also in the picture)
Yun Gee Reading a Scroll (circa 1929)

WORKS ON PAPER
Wheels: Industrial New York (1932 sketch)
The Charm of Music (1930 study)
China and Manchuria (no date)
Hand-lettered brochure for art school (circa 1950)
4-D Is on the Wing and the Wise Men Are Nearest (circa 1954)
Geometrical Theory (no date)
Color Theory (no date)
Color as History of Atmosphere (no date)

Friday, June 2, 2017

Anna May Wong in Picture Play

July 1929
photograph (below)





















November 1929
photograph (below)





















February 1931
photograph (below)





















January 1932
pages 24–25: A Lone Lotus (profile below)
page 64: conclusion























February 1932
Shanghai Express advertisement (below)
pages 54–55: China Lady (Shanghai Express photographs)





















August 1932
page 43: photograph

November 1934
photograph (below)






















(Next post on Friday: Yun Gee: Poetry, Writings, Art, Memories)

Friday, May 26, 2017

Yun Gee in Pioneers of Modern Chinese Painting in Paris

de Sarthe Gallery, Hong Kong
May 13–June 21, 2014
Exhibition Catalog
Yun Gee, pages 53–57
(click images to enlarge)


























The Flute Player (Self-Portrait), 1928

(Next post on Friday: Anna May Wong in Picture Play)

Friday, May 19, 2017

Yun Gee in 20th Century Chinese Art, 2014

Sotheby’s, Hong Kong
April 6, 2014






















CATALOG
Yun Gee, cover art and pages 90 to 99
Photograph of Yun Gee painting (1926)
Self-Portrait (1927; aka Head of Man in Cap)
“A Pioneering Chinese Artist Who Emerged from San Francisco’s Art Scene”
by Professor Anthony Lee
Essay illustrated with self-portraits of Rembrandt (1629), Van Gogh (1887); Xu Beihong (1922); and Pan Yuliang (1940); two pages from Who’s Who in China (1932)
“Off to the New World: Chinese Artists in North America”
Artwork by Hon-Chew Hee, Chao Chung-Hsiang, Chuang Che, Tony Wong, Ming Fay, and Walasse Ting


Sotheby’s, Hong Kong
October 6, 2014

CATALOG
Yun Gee, pages 52 to 61
Man Holding Baby (1926)
Park in Spring (no date)
Artist’s Handmade Album (1926; photographs of Gee and hand-drawn maps)






















15 Contact Prints (1927; 12 paintings and 3 with people)






















Portrait of Otis Oldfield (1926)
Otis Oldfield, Notes of a Promenade with Yun Gee: Sutter’s Fort, Sacramento; Stevenson House, Monterey; Yosemite Trees (1926)

(Next post on Friday: Yun Gee in Pioneers of Modern Chinese Painting in Paris)



Friday, May 12, 2017

Yun Gee in 20th Century Chinese Art, 2009

Sotheby’s, Hong Kong
April 6, 2009

CATALOG
Yun Gee on pages 24 to 26
The Last Supper (circa 1930s)


















four studies (1933; one, two, three, four)
Photograph and biography of Yun Gee


Christie’s, Hong Kong
November 29, 2009

CATALOG
page 4: detail of The Last Supper panel one






















Yun Gee on pages 54 to 61
pages 54–55: The Last Supper (1933; in the gatefold: panels onetwo and three)
page 55: My Conception of Christ (1926; reference only); photograph of Gee with The Last Supper mural; and detail of Leonardo de Vinci’s The Last Supper
pages 56–57: Three Graces (1939)
pages 58–59: Madame Murat Sculpting Statue (1937; aka Yvonne Serruys Sculpting Statue)
pages 60–61: Nude with Pearl Necklace (no date in catalog)